Adrienne Campbell-Holt

Playwright Stephen Belber offers an intricate character study comprised of a barrage of brief nonlinear scenes chronicling the eventful existence of a woman from childhood to the age of 62. With the craft and depth of a fine novelist, Mr. Belber creates a mosaic of pointed incidents imparting vital information. These pass by rapidly with no discernable shape but then at the conclusion everything majestically falls into place. [more]

Ostensibly about domestic abuse, the evidence is all offstage and we must surmise this from the defeated condition of the heroine Irene played by Ms. Daly. Her husband Gerry (John Procaccino) is involved in some shocking, nefarious business revealed to the characters on stage but never revealed to the audience, nor is the confidential project her brother Teddy (Mr. Daly) claims to be working on which will make his fortune. As such, the thrills are all a matter of guesswork, rather than actual events. [more]

With "What We’re Up Against," Theresa Rebeck looks back a quarter century to a time when gender inequality in the workplace was a real problem. Oh, wait…yep, unfortunately, if Rebeck’s script didn’t tell us the year was 1992, it would be pretty easy to believe she was writing about the present, especially given the recent avalanche of news concerning sexual harassment and assault in the entertainment industry. The story Rebeck tells never sinks to this horrific level, though it’s possible to imagine that it could have, if she had wanted to follow the male anger she portrays to a place it often leads. [more]

Playwright Ana Nogueira has a facility for often arch dialogue but not much else. The play’s potentially promising sci-fi premise is undermined by its bizarre vagueness. Not only do the leading characters not have names, there is no biographical data about them imparted. Their professions and life details are never described. Most crucially HIM’s thesis is mentioned several times but what the subject of it was is not stated. Ms. Nogueira basically presents two ciphers that are difficult to truly care about. Ultimately, it’s all a hollow and smug exercise. [more]

Playwright William Francis Hoffman offers a quirky, weirdly compelling if not totally satisfying take on contemporary American life. Mr. Hoffman’s dialogue is richly expressive bordering on poetic and enhances his true to life melancholic characters. The plot is slender and problematic. It has the sense of a symbolism-laden short story adapted for the stage rather then a developed play. [more]

Audiences will receive a refreshing and meaningful gift in "How to Live on Earth." This production sparks several of the big overarching questions, regarding the meaning of life and will also keep you chuckling throughout the 90 minutes. The mix of personalities blends really nicely together and ultimately proves that underneath it all we are all the same: human beings trying to figure out what will make us happy in this world (or the next!). [more]

Founded in 1968, this theater company is, “…committed to the discovery and nurturing of new voices, and the continued support and growth of artists throughout their creative lives.” Ensemble Studio Theatre's 35th Marathon of New One-Act Plays: Series A fulfills this noble goal with its enticing and often quite remarkable variety of works. Series B and Series C will follow and all will run through several dates in June. [more]